pdf 1 - exhibitions international

Contents
Introduction
The invention and spread
of printing
1471 Nicolas Jenson
1480 Gheraert Leeu
1482 Erhard Ratdolt
1483 Bonino de Boninis
1485 Jacob Bellaert
1493 Nuremberg Chronicle
1495 Johannes & Gregorius de Gregoriis
1499 Hypnerotomachia Poliphili
The sixteenth century
1503 Wolfgang Hopyl & Henri Estienne I
1505 Aldus Manutius
1509 Luca Pacioli
1509 Henri Estienne I
1514 Complutensian Polyglot
1516 Johann Froben
1519 Theuerdank
1521 Vitruvius
1524 Ludovico degli Arrighi
1525 Albrecht Dürer
1529 Geoffroy Tory
1532 Marco Fabio Calvo
1538
Decoration and illustration
Hans Holbein the Younger
1538 Robert Estienne
1543 Andreas Vesalius
1545 Simon de Colines
1546 Jacques Kerver
1550 Michael Isingrin
1551 Michel de Vascosan
1558 Jean de Tournes
1558 Robert Granjon
1565 Christoffel Plantin
1569 Plantin Polyglot
1572 Henri Estienne II
1577 Giovan Francesco Cresci
The Dutch Golden Age
1595 Willem Barentsz
1605 Jan van den Velde
1615 Vincenzo Scamozzi
1627 Paulus Aertsz van Ravesteyn
1628 The Elzeviers
1664 Joan Blaeu
1683 Joseph Moxon
The eighteenth century
1700 Cornelis de Bruijn
1705 Charles Plumier & Imprimerie Royale
1719 Maria Sibylla Merian
1723 Martin-Dominique Fertel
1729 Mark Catesby
1733 George Bickham
1750 Giovanni Battista Piranesi
1751 Encyclopedia of Diderot & d’Alembert
1757 John Baskerville
1764 Pierre-Simon Fournier
1766 Johannes Enschedé
1771 Louis-René Luce
1772 Joaquín Ibarra
1784 François-Ambroise Didot
1793 Giambattista Bodoni
1797 Thomas Bewick
1802 Redouté & Didot le Jeune
1809 Imprimerie Impériale
Nineteenth-century
graphic techniques
1818 Alois Senefelder
1822 William Savage
1828 Vincent Figgins
1834 Jean Midolle
1840 John Gould
1842 Gottlieb Haase Söhne
1844 Chiswick Press
1858 John Sliegh & Birket Foster
1860 Victorian gift book
1882 Julius Klinkhardt
1887 Eadweard Muybridge
1890 James McNeill Whistler
1894 Gerrit Dijsselhof
Private presses and traditional
book typography
1895 William Morris
1895 Théo van Rysselberghe
1897 Lucien & Esther Pissarro
1904 Theodore Low De Vinne
1905 Count Harry Kessler & Emery Walker
1905 Rudolf von Larisch
1906 Doves Press
1908 Henry van de Velde
1909 Peter Behrens
1912 American Type Founders Company
Avant-garde and
New Typography
1919 Francesco Cangiullo
1919 Fernand Léger
1923 Bruce Rogers
1923 El Lissitzky
1923 Rudolf Koch
1924 Francis Thibaudeau
1925 Theo van Doesburg & Käte Steinitz
1926 Karel Teige
1927 H. N. Werkman
1928 W. A. Dwiggins
1929 Wiener Werkstätte
1929 Count Harry Kessler &
Edward Gordon Craig
1929 A. M. Cassandre
1929 John Heartfield
1929 Jan Tschichold
1931 Eric Gill
1931 Piet Zwart
1937 Jan van Krimpen
1948 Pierre Faucheux
Modernism and
Swiss typography
1948 Richard Paul Lohse
1949 Jan Tschichold
1953 Herbert Bayer
1954 Willem Sandberg
1956 Marie Neurath
1956 Robert Massin
1956 Lester Beall
1957 Paul Rand
1958 Karl Gerstner
1958 Max Huber & Giovanni Pintori
1963 Willy Fleckhaus
1964 Rémy Peignot & Adrian Frutiger
1966 Wim Crouwel
1967 Quentin Fiore
1968 Christian Chruxin
1970 Wolf Vostell
1971 Katy Hepburn
1977 Massimo Vignelli
1981 Helmut Brade
Postmodernism
1988 Irma Boom
1992 Paula Scher
1995 Bruce Mau
1997 Rudy VanderLans & Zuzana Licko
2000 Derek Birdsall
2001 Stefan Sagmeister
2008 Joost Grootens
2010 Irma Boom
Postscript
About the authors
Further reading
Index
This sales blad contains uncorrected proofs
of sample pages in miniature. The full
specification for the book itself is:
Trimmed page size: 31.8 x 22.9 cm
Casebound and jacketed
464 pages with over 672 colour illustrations
ISBN 978-0-500-51591-4 £42.00
(price subject to change without notice)
Thames & Hudson
181A High Holborn, London WC1V 7QX
www.thamesandhudson.com
Edited by
Mathieu Lommen
the book of books
500 years
of graphic
innovation
the book of books
500 years of graphic innovation
Edited by Mathieu Lommen

1895 William Morris Dante Gabriel Rossetti, Hand and soul. Hammersmith: Kelmscott Press; Chicago: Way and Williams,
Towards the end of 1889,
William Morris started
1895. 56 pp. 15 cm. Designer & illustrator: William Morris. Printer: Kelmscott Press, Hammersmith (London).
designing the Golden type
(1891), which he initially
called ‘Jenson-Morris.’
‘I began printing books,‘ wrote William
Nicolas Jenson’s roman from
Morris in 1896, ‘with the hope of produc-
1470 served as an example;
ing some which would have a definite
Emery Walker, a friend who
claim to beauty, while at the same time
lived near Morris in Ham-
they should be easy to read and should
mersmith, had furnished
not dazzle the eye, or trouble the intellect
photographic enlargements
of the reader by eccentricity of form in
of historic types. Edward
the letters.’ By founding a private press,
Prince (1846–1923) cut the
the Englishman Morris (1834–96) gave
his interest in books a new turn. Before
that, in the eighteen seventies, he had
punches.
276 calligraphed and illuminated books by
hand. Also, he abhorred the cheap paper,
the thin typefaces, and the abominable
layout of contemporary books.
When Morris, in his fifties, started the
Kelmscott Press (1891–98), he was already
a successful man. He was well-known as a
writer, as an Arts-and-Crafts artist, and as
a socialist. His firm, Morris & Co., produced
stained glass, furniture, wallpaper
and fabrics, and boasted more than a
hundred employees. For his private press,
Morris designed heavy types, using photographic
enlargements of historic types.
The production of his books was done
according to traditional methods: a hand
press was used to print on handmade
paper or parchment. Woodcuts were
used for the decorations. The expensive
Kelmscott editions were in great demand
with book collectors and librarians.
Hand and soul is an early text by the
painter and poet Dante Gabriel Rossetti,
who was an old friend of Morris. The ornamental
borders had already been used
for another book. Hand and soul is the
only Kelmscott publication that also appeared
in an American edition. Kelmscott
Press had many admirers and followers
outside of England, mostly in the United
States. ml
277
344
the book of books
1929 Jan Tschichold Franz Roh & Jan Tschichold, Foto-Auge: 76 Fotos der Zeit; Oeil et photo: 76 photographies de notre
temps; Photo-eye: 76 photoes of the period. Stuttgart: Dr. Fritz Wedekind & Co., 1929. 18 pp. 30 cm. Designer: Jan Tschichold.
Photographer (cover): El Lissitzky. Printer: Heinrich Fink, Stuttgart. With the folds on the fore-edge.
When Jan Tschichold (1902–74) designed
Foto-Auge, he had already made his
name, even though he was still in his
twenties. To some extent, this was due
to his publications, in particular to his
manual Die neue Typographie, which had
appeared the year before. After visiting
a Bauhaus exhibition in Weimar, in
1923, Tschichold’s work was increasingly
influenced by Modernism.
In 1928, he was a selection committee
member for ‘Film und Foto’ (Fifo). This
travelling international exhibition, which
opened in Stuttgart in 1929, focussed on
several areas of photography, among
them advertising. Tschichold’s friends
El Lissitzky and Piet Zwart took care of
selections for the Russian and Dutch sections
respectively. The groundbreaking
exhibition was accompanied by a modest
catalogue. The photo book Foto-Auge,
which Tschichold helped put together,
was a spin-off from this exhibition. It contains
work by László Moholy-Nagy, Zwart,
Tschichold, and others. Lissitzky’s selfportrait
on the front cover, ‘The constructor’
(1924), has since become iconic.
Tschichold advocated the use of
standard paper sizes (din) for reasons of
efficiency. Die neue Typographie appeared
in A5 size, Foto-Auge in A4. Foto-
Auge is an example of New Typography
in other aspects as well: the asymmetric
layout, the exclusive use of lower case
type, and the book, while refined, is not a
luxury edition. A Japanese binding – the
fold at the fore-edge – was used to give
the book some bulk (it numbers only
94 pages). To this end, the leaves were
stapled through the back margins. ml
the book of books
William Morris
Jan Tschichold
345
396
442
1966 Wim Crouwel Remco Campert, De letter ... n; verbeeld door Wim Crouwel (Total Design). Amsterdam: Den Ouden,
1966. 26 pp. 15x21 cm. Designer: Wim Crouwel (Total Design). Printer: Den Ouden, Amsterdam. With the folds on the fore-edge.
This publication is a linguistic and graphic
game with the letter n. The designer Wim
Crouwel (1928–) illustrates a short text
by the Dutch poet and author Remco
Campert. The booklet, printed letterpress,
was a New Year’s publication by an
Amsterdam printing office. A few years
before it appeared, Crouwel and others
had founded Total Design (td), a multidisciplinary
bureau. Influenced by the Swiss
style of typography, td worked according
to a rational design method. Situated in
Amsterdam, the bureau received large
and complicated commissions, including
house styles for governments, businesses
and museums. td became so influential
in The Netherlands that the seventies
brought a reaction against its dominant
‘functional’ style. The criticism, from both
the design world and the media, was
directed primarily against Crouwel: he
was the public face of the bureau.
Even though many regarded his work
as rational at the time, he still found
opportunities for experiment, especially
the book of books
the book of books
in a publication like this, printed in a
small edition. In these years Crouwel was
also working on a typeface for the new
cathode ray tube (crt) typesetters. His
research resulted in his New Alphabet
(1967), which broke with all conventions
of legibility. Hardly used — technical
advances quickly overtook the concept
— the alphabet and its printed specimen
have since attained a cult status.
De letter ... n is partly set in the sans
serif Helvetica, sometimes called ‘the
faceless typeface’. td preferred to work
with sans serif types. Helvetica is based
on types from circa 1900, but gives a
more mechanical, neutral impression.
In his preference for ‘neutral’ design
and machine aesthetic, Crouwel shows
himself to be a true modernist. ml
Helvetica (1957) was developed
by Eduard Hoffmann
(1892–1980), director of
Haas’sche Schriftgiesserei
near Basel, in collaboration
with the designer Max
Miedinger (1910–80). In
fact, it is a completely redrawn
version of Akzidenz-
Grotesk. From 1961 it was
also available from Stempel
and Linotype, and was
expanded into a family with
many variations in weight
and width.
Wim Crouwel
Stefan Sagmeister
397
443